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Noh

I am a student of the Kita School of noh - a chanted and dance form of theatre which originated in 15th century Japan. I studied for over ten years with noh professional Richard Emmert and master teacher/actor Ômura Sadamu and continue my training when I can during trips to Japan. I have danced in numerous recitals, and performed the shite role in a a full hakama-noh version of the play Tomoe. I have also taught noh dance and chant at The Noh Training Project in Bloomsburg, Pennsylvania, and in Vancouver at The Dance Centre.



I am also a founding member of Theatre Nohgaku an international group dedicated to the teaching, training, and dissemination of noh outside Japan, and also to the creation and production of new noh plays. Whenever we can get together we continue our training through residencies and productions.



I most recently was part of a residency with Theatre Nohgaku at Zen Mountain Monastery in the Catskills outside New York City. We performed an English language version of the classical noh play Sumidagawa. Also with Theatre Nohgaku, I have performed the title role in David Crandall's haunting noh play Crazy Jane in Pennsylvania. On the flip side of the noh spectrum, I have performed the kyôgen role of a New Jersey mosquito in the new noh play, Pine Barrens which toured North Carolina and Virginia. I have played a yamabushi, or mountain priest, in the kyôgen play, The Snail, and danced Sheherazad in a contemporary fusion piece choreographed by Matsui Akira which blended classical music, noh, and biwa performance, which was performed in Tokyo.



I believe noh is a brilliant form for actors and dancers to learn breath control, focus, and simplicity, and a wonderful way to work on core strength. It is a highly refined expressive vehicle, and I have used elements of it in much of my contemporary choreography and direction.